Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Perdenin Ardındakiler - Gökyüzü - Chord
Key Eb major – C minor Chords Ab, Cm, Bb, Fm, Eb Easy key G
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Key: Eb | Cm
Capo: 0
Fm Ab Cm Bb
Fm Ab
Yeşilini bırak
Cm Bb Fm Ab
Bak gün doğacak uzaklarda
Cm Bb
Bir yerlerde
Fm Ab
Sensiz kalacak
Cm Bb Fm Ab Cm Bb
Bütün ormanlar yanacak bu çürük kalbimde
Fm Ab
Gökyüzüne bir bak
Cm Bb Fm Ab Cm Bb
O gri bulutlar ıslatacak ikimizi de
Ab Cm Eb Bb
Fm Ab Cm Bb
Fm Ab
Bu şehir dökülmüş
Cm Bb Fm Ab Cm Bb
İçinde anılar birikmiş, yüzlerce
Fm Ab
İnsan acıyı tatmış
Cm Bb Fm Ab Cm Bb
Onu sarmış ve gömmüş, derinlere
Fm Ab
Tüm geceleri yut
Cm Bb Fm Ab Cm Bb
Çünkü yıldızlar küseeer gidenlere
Ab Cm Eb Bb
End of song Play again?
Perdenin Ardındakiler - Gökyüzü Tabs
NotesX
Harmony analysis
Perdenin Ardındakiler – Gökyüzü: key and chord analysis
The song opens on Fm and ends on Bb. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because Cm is heard 16 times against 2 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Eb or to Cm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Eb | Tonic — home | Eb · G · Bb | 2× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 14× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | — |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 16× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 16× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 16× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 16× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 2× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 14× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | — |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 16× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 16× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 5 different chords appear 64 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Ab Cm EbIV → vi CmVI → iVI → i ×16
The move to watch is Ab → Cm, heard 16 times. From the Cm side it is VI → i (VI → i: falls a half step into home); from the Eb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Ab, Cm, Bb, Fm carry the song: IV–vi–V–ii relative to Eb, VI–i–VII–iv relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Cm (IV → vi in Eb, VI → i in Cm): VI → i — falls a half step into home. Ending on Bb, the song seals Eb as home.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Perdenin Ardındakiler - Gökyüzü Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Doruk EreşterMusic: Direnc
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